Tag Archives: triads guitar

Jazz Chords – Using Triads in Jazz Comping – Study Guide

You can use triads to play jazz chords, and it is a very powerful tool for this. Triads are very flexible and easy to play while also sounding great as chords. In this playlist, I will go over how you can use the triads you already know to play great sounding jazz progressions using only easy 3-note jazz chords.

We can play a wide range of chords with these 3-note easy jazz chords and they are very easy to add notes to or change notes to give us the extensions or alterations we want.

You can check out the videos here or go through the playlist on YouTube through this link:

Jazz Chords – Using Triads in Jazz Comping – Study Guide

Working with Triads as Jazz Chords and making it a flexible tool

This video discusses how you can work with triads and inversions when comping, showing you how to voice-lead them, use inversions, and add extensions and alterations.

Finding Triads for 7th chords

This video is actually about soloing, but the first few minutes provide a very thorough method for relating triads to a 7th chord.

Playing a Jazz Standard using Triad voicings

In this lesson, I am going to show you how you can get started with some triad voicings. Starting with what you already know and then go over 5 levels, step-by-step, of how you can play some great sounding comping ideas using these amazing voicings.

Applying Triad voicings to a Jazz Blues

This lesson is going over how you find triad voicings for a C jazz blues. You will also learn what you can do with the voicings you find using melodies and inversions.

 

Other great 3-note Jazz Voicings to Add To Your Vocabulary

When you think about Jazz Chords then you are probably thinking about rich chords with a lot of beautiful extensions. Of course, the rich colors of Jazz are about having chords that are embellished like this. At the same time when you are playing Jazz and when you are comping then you also want to have flexible chords so that you can move from one to the next, create small melodies and 3-note chords are fantastic for this.

 

Using less common Triad choices on a Maj7 chord

This video is going over 6 triads that I use for my Cmaj7 voicings and will also demonstrate how you can use them in a II V I cadence in C major. At the end of the video, I go over 4 more triads that are a bit tricky to use but also yield more interesting sounds!

Let me know what you think!

These videos give you a path to work on using triads and becoming very flexible with them, is there something you are missing or maybe something else you would like to see?

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Triads And How To Make Great Lines With Them On a m7 Chord

Triads are an amazing resource to add to your solos and a great way to add some color to your lines and create strong melodies.

In this video, I am going to show you not only what triads you can use on a m7 chord but also some great strategies for making lines with them.

Finding Triads for the chord

First, let’s look at the triads that are available. That is also a great way to use a little theory and then I will go over some ways to use the triads and some chromatic and voicing tricks. Keep in mind that analyzing like this works for pretty much any chord in any scale.

For this video, I am going to use an Am7 chord as it is found in the G major scale.

G A B C D E F# G

The basic arpeggio is

A C E G

In the arpeggio, you already have Am – A C E and C major C E G

And we can find triads that are related to the chord by stacking on top of the arpeggio:

A C E G B D

which gives us an Em and a G major triad

So now we have Am, C, Em and G triads for the chord and can start working on some different ways to use them like diatonic and chromatic passing chords, triad pairs and spread triads.

Basic triad from the 3rd

The example below is using the C major triad over the Am7. This triad is a very strong choice on the chord.

It’s good to start with a basic triad, in this case, the triad from the 3rd of the chord: C major. Another way to see how this is a very clear sound is to notice that it is the top part of this chord:

A Difficult Triad and a Trick

The G major triad is a little tricky on the Am7 because we can easily lose the connection to the sound of the chord, with only the b7 as a basic chord tone.
One way to deal with that is to use the G major triad in a line where it is combined with the 3rd of the chord C, to make that connection a little stronger.

A modified version of something that I have come across with both Chris Potter and Michael Brecker: A G major triad + a low C which becomes a sort of a quintal maj7 arpeggio

Diatonic Passing Chords

Since you are looking at the triads as a part of a scale you can use that when you make lines as well. The triads that we like to use are a 3rd apart, but that means that between two triads that are closely related to the chord you will have one that you can use as a passing chord.

An easy way to practice these is to go over the diatonic triads on a string set like this:

The example below starts with a C major triad and then moves via a Bm triad to an Am triad. So here I am using the Bm triad as a diatonic passing chord.

Chromatic Passing Chords

You probably already know how it works to have a chromatic approach note in a line:

so and you can do the same with enclosures like this

but you can use this with an entire triad as well, and that is what I am doing in the example below. Here I am using a Db major triad to approach a C major triad. This is a little more difficult to make lines with but it is a nice thing to have in your vocabulary for a little variation.

Spread Triads

You can look at Spread Triads as being the Drop2 version of triads.

If you take a 2nd inversion Am triad like this: and then move the 2nd highest note down an octave then you get this: Am

Spread triads are also a great way to practice alternate picking and string skipping:

The Spread or Open-voiced triads are great for introducing larger intervals
Triad Pairs

A triad pair is a set of triads without common notes. In a major scale that means that it is two triads next to each other (you can chew on that a bit if you want to figure it out)

For an Am7 chord then Am and G form a great triad pair spelling out the notes of an Am7(9,11) A C E + G B D

And you can use that in a line like this:

Use the triads on these Jazz Standards

I talk about this quite often: The way you really learn something is by using it on songs in your real playing. This is as important as practicing scales and arpeggios.

Jazz Standards – Easy Solo Boost

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Triads – How To Use This Powerful Tool In Your Jazz Solos

Every arpeggio is a melody and Triads is a great very strong melodic building block you can use in your Jazz solos. In this lesson, I will show you:

You will learn how to:

  • Find Triads for Chords
  • Exercises to play them
  • How to use them as Odd-Note groupings, strong melodies and outside material

Let’s first look at how to find triads and then what to practice and how to use them going from diatonic to a little outside stuff as well.

The examples of lines using the triads are all on a static or modal Dm7.

Finding Triads – Analyzing Chords For Solo Material


This is really simple if you know a little theory. You only need to know the notes in the chords and the scale they are found diatonic to.

The basic way to look at this: II V I in C major – Dm7 G7 Cmaj7

The scale: is C major: C D E F G A B C

Dm7: D F A C

G7: G B D F

Cmaj7: C E G B

For each chord we can find a triad from the root, so Dm for Dm7 and from the 3rd of the chord. For the Dm7 that is F A C which spells out an F major triad.

By adding extensions and looking at the available triads you can construct this overview:

The available triads are:

Dm7: Dm, F, Am, C

G7: G, Bdim, Dm, F

Cmaj7: C,Em,G

What Should You Practice – Solid Triad Exercises

Now you can find the triads but you also need to be able to use them in your playing and for that, you need to have them as flexible sets of notes, so basically you want to be able to play triads in as many ways as possible.

You can try out these exercises, don’t focus on speed just on being able to play them in tempo with a good tone and technique, then you can use them in your playing.

Some of the triad exercises I play in the video are:

Diatonic triads

Triad arpeggios in Position

Across the neck (showing F major and G major triads)

Inversions on string sets

3-1-5 Pattern in the scale

Across the neck in a skipping pattern

You can check out more exercises in this Triads Lesson

or this lesson on a Blues Solo with only Triads

Making Lines – Using Triads In Solos

Whether it is Charlie Parker, Pat Metheny or Julian Lage, they all use triads as a part of their solo vocabulary. These 3 examples will give you some different ways to use them in solos.

Odd-note groupings and cascading triads

This lick starts with a chromatic enclosure and from the continues with cascading triads.

In this example, I use the F major, Am, and C major triads as 3-note groupings. The melody works because I am stacking the triads in 3rds to connect them.

Open-Voiced/Spread Triads

The 2nd lick is combining Dm, F major, and C major triads.

Dm in a standard root position followed by the open-voiced F major triad in bar 2, and finally the C major triad in 2nd inversion played in a pattern.

Outside Chromatic Triads

Another interesting way to use triads on a static chord is to use them as chromatic structures and approaches, similar to how you would use chromatic passing chords

In the example below you have the melody moving from Dm triad to Db major to C major triads.

An example of this in a Kurt Rosenwinkel solo on All or Nothing At All is shown below:

Kurt plays this at the beginning of his solo off the East Coast Love Affair album.

An equally powerful solo tool on Lady Bird

You can also purchase this lesson at a reduced price as a part of the Easy Jazz Standards Bundle

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Triads – How To Make Them Jazz Chords

In this video, I am going to show you how you can use the triads that you already know as a great way to create some beautiful jazz chords. Starting with material that you already know to open up a vast amount of jazz voicings is a really efficient approach to becoming much freer and begin to create a jazz chord vocabulary, and it is also really great for fretboard knowledge.

It is really interesting to explore how great a tool the triads are as jazz voicings.
I am going to do this in three steps:

  • How To Find Triads You Can Use, in a Practical Way
  • Easily Turn This Into a lot of chords and ideas to play
  • Find Triads for more Complicated Chords with Extensions

Step 1 – Rootless Jazz Voicings for a II V I

If we take a II V I in C major with some very basic jazz chords then we have this:

If I remove the Bass note then I have

Turning Diatonic 7th chords into triad voicings

The same principle use on all the diatonic chords in C major would yield:

And without the root we have these triads that could work as the above chords:

Step 2 – More Triad voicings with inversions

Before looking at adding extensions and alterations to the chords, let’s have a look at how much we can already do with these simple triads.

We now can play a II V I with these rootless, triad-based, but if this F major triad is a good voicing for Dm7 (Example 3) then the inversions of it are as well.

If I do this for the II V I progression I have these 3 ways to play that:

And of course this is just on the middle string set. This works on other string sets as well

Step 3 – Adding Extensions and using other triad types

If you look at a G7b9 voicing spelled out x 10 9 10 9 x or G B F Ab then the top notes of this chord are B F Ab which is, in fact, an F dim triad.

If I inser these into the II V I’s from example 4 then I have:

In the same way a Dm11: 10 x 10 10 8 x or D C F G has the three notes C F G on top. That is a Csus4 triad.

This gives us these II V I examples

And finally we can add a 13th to the Cmaj7: which is the same as playing an Asus4/C which gives us:

If you want to check out more options on using upper-structure triads for Cmaj7, I also have this lesson: 6 Triads for a Cmaj7 Chord (well 10 actually..)

Mix it with Other Chord Types

Check out how Triads work well with other 3-note voicings in this lesson on the changes of Some Day My Prince Will Come.

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Triads on a G7 – The Most Important Solo Tool

When you start to play jazz it is easy to get completely lost in extensions, alterations and chord substitutions. And while that is also a part of jazz then it is often much more useful to work on more simple things like what Triads you can use on a dominant chord.

To demonstrate some of triads you can use in a Jazz Blues solo and also talk about different ways to use them I have written a one chorus solo on a Blues in G which will illustrate a lot of options in terms of triad options for a lot of the chords in there.

The G Jazz Blues Solo

As you can see in the video the first thing to check out is the solo. If you can then go through the solo now and mark down the different triads you see. Not all phrases are pased on triads, but most of them are.

The Basic triads on a G7(9,13)

The first bar is a phrase made with a root position G major triad, sliding up to the 3rd and then playing first the root and then the 5th that I repeat.

You want to check out how to use the G triad on a G7, especially for a G jazz blues, but make sure to also work on how to play different melodies with it by learning the triad notes in different order or checking out inversions.

If you want to hear somebody use triads well then listen to Charlie Parker or John Coltrane (not the smallest names in Jazz..)

An overview of the triads on a G7 can be made by looking at the G7 with all extensions, similar to stacking the scale in 3rds from G:

G B D F A C E – G7(9,11,13)

G B D – G major

B D F – Bdim

D F A – Dm

F A C – F major

E G B – Em

Am and C major have too much of a “C” sound to really work well on G7. If you want to check out some more ideas for triads then this article might be helpful: Triads – How To Make Jazz Licks and what to Practice

The line on the C7 is not based on a triad.

In Bar 3 the opening phrase is developed using a similar but extended version of the melody. Now the triad used is the one from the 3rd of the chord: B dim.

This is developed further moving up to a Dm triad in bar 4. From there the melody is with a Db triad. The triad of the tritone substitute: Db7.

The IVth degree and the #IV dim chord.

On the C7 the melody is constructed of the triad on the 5th: Gm and on the C#dim the triad is on C#dim. Of course all 4 dim triads could work: C#,E,G and Bb.

Returning to the G7 the melody is constructed from a descending F major. With the F major triad you need to be a little careful with the C so that it still sounds like a G7. In this case I am moving the melody to a B.

On the Bø E7 is played using the triad from the 3rd of Bø: Dm and the one on the b9: Fdim

The Final Cadence and two Triad Combinations

The Final II V: Am7 D7 is using combinations of triads. The Em and C triads on the Am7. In this case this is not a triad pair since a triad pair is made up of triads that have no common notes. If you want to explore triad pairs then this lesson might be useful: Traid Pairs Part 1

On the D7al the triads are Ab and Ebm. The Ebm is neatly resolving to the triad on the 13th of G7: Em.

The melody on the D7alt and G7 is repeated and developed on the D7 into a D augmented triad.

Give you Jazz Blues playing a Boost

If you want to get some new ideas for you blues soloing and check out how I phrase on a medium Bb Blues then check out this lesson based on a transcribed 4 chorus solo. Discussing arpeggios, blues phrasing and pentatonic scales.

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Triads – 5 Easy Exercises for Better Solos

You want to include Triads in your Jazz Guitar vocabulary. Triads are some of the stronges melodies we have available and in the video I am going to go over 5 easy exercises to build your triad vocabulary on jazz. For each of the exercises I also have a jazz lick using the pattern so you can hear how it sounds in context.

Of course you are practicing scales and arpeggios but it is difficult to put that into real music. But there are also ways to practice that are a lot easier to put into a solo.  I am also going to talk about how ways practice them and of course give you some examples on how to use them in a solo.

I find that working a bit at these patterns really helps:

  • Making more interesting solo lines
  • Use the things you Practice for technique
  • Have a better overview of arpeggios on the neck
  • Knowing the Scales and music theory

As a small extra feature this also demonstrates some of the places where I use sweeping or economy picking!

Lick #1 – Top Note Targets

As you will see I tend to work mostly on triads in scales, so what is often called diatonic triads. This is because if you check them out there then you have them together with all the other notes you use when you are soloing so it is about understanding the triad, the chord and the scale.

This first example is a pattern that really emphasizes the top note of the triad arpeggio. Since the top note also almost can work as an independent melody this is an easy way to build a strong line just having a simple melody that is harmonized with arepggios.

On a side note you can hear Lage Lund use this pattern quite a lot.

Exercise 1 – Diatonic Arpeggios

Probably the great thing about this pattern is that it really emphasizes the top note, so the rest of the notes almost sound like they are accompanying that note. This means that the melody you hear is mostly the top-notes moving. The large interval skip from the 5 to 1 followed by the ascending arpeggio also gives the line a lot of forward motion.

Altered Scale Triad Pair

Here you have an example of how I might use the top-note pattern. In this II V I lick I am using it starting on the Dm7 and then going on to the G7alt with Bbm and Abm triads.  

Bbm and Abm form a triad pair on a G7alt since they are triads with out common notes:

Abm: Ab B Eb and Bb: Bb Db F

Finding triads for a chord

The way I find the triads that I can use over a chord is by looking at a chord with extensions. As an example you can look at the Dm7 chord, with the stable extensions in C major that would be a Dm(11):

D F A C E G

And the process is really just to pick out the triads contained:

Dm: D F A

F: F A C

Am: A C E

C: C E G

Lick #2 – 3rds Distance Cascade3rds distance

This way of playing the triads is useful because you are playing them together so that they fit a chord. If you are improvising over a Dm7 then Dm, F and Am triads all work over that chord.

Having the triads together like this works well for cascading arpeggio ideas combining several triads over one chord.

A useful or practical way to practice this is across the string sets in two different ways

The first approach relies on Economy picking where the second is using legato for the same note set. As you may have noticed in other lessons I use this economy patter quite a lot.

3rds Distance – Legato idea

In this lick the cascading triads are on the Dm7 and then stretching into the G7alt with the Db triad. This way of using the triads also creates a great 3 note grouping.

Lick #3 – Leading Notes

Adding chromatic passing notes to triads is a great way to use them and add some bebop or jazz flavour to the triads.

The exercise here below is taking the diatonic triads in a common 8th fret scale position and add a chromatic leading note before the root.

Chromatic leading notes

The example here below adds a leading note first to the F major triad and then the A minor triad. The G7alt also adds a descending version of the leading note to an Abm triad.

Lick #4 – The Wrong way around

Another variaton that is easy to use is to play the triads ascending through the scale, so Dm, Em, F, G, Am, Bø, C but then play each triad descending.

This exercise is showed on the top string set and notice how I am using economy picking to play the triads.

New Directions for Triads

The lick is using the first three triads from the exercise: Dm, Em and F major and from there going into an altered lick based on an AbmMaj7 arpeggio.

Lick #5 – Arpeggios are melodies

You don’t have to play the notes of the triad in the same order all the time. In this exercise I am changing the order from 1 3 5 to 3 5 1. 

This has two advantages: I t really brings out the 3rd in the triad and of course creates a strong melody.

Creating new triad sounds

This lick is demonstrating how you might use the triads. On the Dm7 I used an F major and an A minor triad.

Notice how the lick has a lot of large intervals and the triads still pull everything together.

Arpeggios and Target notes

A huge part of playing over chord changes is using arpeggios like triads and then thinking ahead so you hit the right target notes in the next chord.

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